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Index
Richard J. Powell
Description: Going There: Black Visual Satire
Going There: Black Visual Satire
Index
Author
Richard J. Powell
PublisherYale University Press
PublisherHutchins Center for African & African American Research
Copyright© 2020 by Richard J. Powell
Stable URL: https://aaeportal.com/?id=-20674
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Index
Abstraction, 199
African American community: class system in, 53
material culture of, 30–32
satire directed against, 24–26, 54–55, 63–66, 70
vernacular context of, 12–15, 26–30. See also Civil rights movement
African American soldiers: all-black fighting units, 74–75
“Bootsie,” 75–76, 76
in racial incidents, 76–78
status of, 71–72
Amos ’n’ Andy radio program, 138–139
Anderson, Eddie “Rochester,” 119
Angelou, Maya, 47–48, 125, 140, 214n37
Aphrodite legend, 156
Aristophanes, Lysistrata, 28
Arneson, Robert, 6, 9
Art: Bay Area figurative artists, 165
cultural activism in, 165
graphic, 6–8
influence of minstrelsy, 102–103, 105–106, 113–116, 127–128, 135–151, 154
parodies of classic works, 155–156. See also Colescott, Robert
Audience, for satirical art, 41–42, 44–46, 69
Aunt Jemima images, 120–121, 122, 123–124, 123, 124, 140–142, 172
Bad painting style, 175
Baker, Kenneth, 162
Bakhtin, Mikhail M., 21, 34
Basquiat, Jean-Michael, 187
Battock, Gregory, 169
Bay Area figurative art, 165
Beatty, Paul, 40
Becker, Robert, 191
Benny, Jack, 119
Bilingual modes of communication, 53
Björkman, Stig, Georgia, Georgia, 125, 126
Black Arts movement, 47–48, 60, 104, 118–120, 126–127, 139
Black Arts Repertory Theatre, 119
Blackface minstrelsy, 48–49
black performers in, 110–112
burnt cork makeup, 105, 116, 133
white performers in, 106–110, 138
Black, Shirley Temple, 102
Black skin/white masks concept, 128
Blitt, Barry, 13, 14
Blues music, 10–11
Bootsie character, of Harrington, 58, 66, 66, 75–76, 76, 79, 80, 81, 82–83
Bosch, Hieronymus, Ship of Fools, 5, 6, 168
Boston school desegregation, 93–96
Brooks, Mel, The Producers, 133
Brown, Bill, 134
Brown, James, 150
Brown, Jayna, 111
Brown, Sterling, 26
Brunner, Edward, 74
Bullins, Ed, 40, 47–48
It Bees Dat Way, 129
The Gentleman Caller, 119–120, 125
Buñuel, Luis, 198–199
Los Olividados, 199
Nazarin, 199
Burnt cork makeup, 105, 116, 133
Burr, Don, 210n42
Cambridge, Godfrey, 130, 214n37
Campbell, Elmer Simms, 60
Canaday, John, 165
Caricature, 6, 8, 10, 89
Carnivalesque, 21, 34, 167
Cartoons: for-blacks-only idiom in, 53–54
of civil rights movement, 117, 118
editorial, 8, 11–12, 13–15, 42, 55, 91
in 1920’s commercial art world, 59–60. See also Harrington, Oliver (Ollie) Wendell
Carver, George Washington, 170
Catlett, Elizabeth, I Have Special Reservations, 23–24, 23
Chadwick, Whitney, 165
Chaplin, Charlie, 8
Charles, Michael Ray, White Power, 135–136, 136
Chase, Bill, 64
Chicago Defender, 52–53, 69, 88, 92
Childs, Charles, 121
Chitlin’ circuit era, 126, 143
Civil rights movement: demonstrations, 87, 88
satirical view of, 117
school desegregation, 81–82, 93–96
and violence, 77–78, 100, 101
Clark, Tom C., 78
Class systems, African American, 53
Clown modes, 26, 143–144
Coded words, 53
Coleridge, Samuel Taylor, 108
Colescott, Robert, 40, 47, 157, 179
and abstraction, 199
Aunt Jemima image of, 140, 172, 182
autobiographical approach of, 158–159, 162, 180–184
bad painting style of, 175
black humor in work of, 159
checkerboard motif of, 182, 200
controversial subjects of, 49
critical opinion of, 165
exhibitions of work, 160–162
familial turbulence of, 202
family background/early life of, 160, 185, 187
historical subjects of, 191–195, 197–199
interracial relations as theme of, 48, 49, 187–188
Martin Luther King depicted by, 165–167, 166
outsider status of, 49, 162, 202
in Paris, 180
parodies of artworks, 155–156, 161, 162, 167–180
qualities of work, 158
racial hybridity in work of, 184–185, 187–191
racial passing theme of, 185–187
and racial stereotypes, 15, 18, 124
on racial stereotypes and reversals, 102–104
and Richard Pryor, 200–202
satirical objectives of, 1, 12, 162–163, 180, 195–197, 202–203
scumbling technique of, 220n47
Colescott, Robert, works: Ace of Spades, 57, 58, 167
Assassin Down, 166
At the Bathers’ Pool series, 155
Beauty Is in the Eye of the Beholder, 182, 183
Bye Bye Miss American Pie, 163–165, 164, 218n16
Colored TV, 175–177, 176
Death of a Mulatto Women, 189, 189, 197
Dulacrow’s Masterwork: A Mockumentary Film, 171, 172
The Dutiful Son, 177, 178
Eat dem Taters, 218n25
Education, 199–200, 199
Emergency Room, 196–197, 197
End of the Trail, 218n25
George Washington Carver Crossing the Delaware, 1, 15, 18, 19, 46, 50, 158, 168, 169–170, 171, 201, 202
Heartbreak Hotel (Reservations), 202
Heavenly Host and MLK, 165–167, 166, 185
Homage to Delacroix: Liberty Leading the People, 170, 171–172, 173, 180, 202
I Gets a Thrill, Too, When I Sees De Koo, 140, 141, 154, 172
Jemima’s Pancakes, 124, 125, 142, 185
Judgment of Paris, 155–158, 156, 162, 182, 188
Jus’ Folks, 218n25
Kitchen Assassination, 166
Knowledge of the Past Is the Key to the Future (St. Sebastian), 187, 188, 192
Knowledge of the Past Is the Key to the Future (Some Afterthoughts on Discovery), 191, 192, 193–194
Knowledge of the Past Is the Key to the Future (The Other Washingtons), 191, 192, 193, 194
Lady Liberty, 173, 173
A Legend Dimly Told, 174–175, 174, 179, 180
Les Demoiselles d’Alabama: Desnudas, 179
Les Demoiselles d’Alabama: Vesidas, 179
Lightening Lipstick, 190, 190, 191, 197
Listening to Amos and Andy, 137, 138–139, 144, 185
The Lone Wolf in Paris, 180–182, 181
My Shadow, 185
Natural Rhythm: Thank You Jan van Eyck, 218n25
Pac-Man (The Consumer Consumed), 195, 196
Passing, 185–187, 186
Pygmalion, 12, 13, 34, 195
Rejected Idea for a Drostes Chocolate Advertisement, 168, 169
Shirley Temple Black and Bill Robinson White, 102, 103, 104, 138, 173
Sunday Afternoon with Joaquin Murietta, 177–178
The Three Graces: Art, Sex and Death, 183–184, 184
Tom and Eva: Thank You Staffordshire, 218n25
The Triumph of Christianity, 197, 198, 198
Colescott, Warrington, Jr., 160
Color line, 65, 76
Columbus, Christopher, 193
Comedians, black: clown modes, 26, 143–144
influence of minstrelsy on, 116–117
Richard Pryor, 200–202
Comic strips, of Harrington, 61–69
Commedia dell’arte zanni characters, 107
Communist Party of the United States (CPUSA), 78, 86, 89, 91
Correll, Charles, 138–139
Cowan, Steven, 6
Cox, Alison Hafera, 89
Creative Time, 145
Cultural literacy, 69
Daily World, 47, 86, 89, 90, 91, 92
Dance, influence of minstrelsy, 151–152
Darden, Colgate, 71
Das Magazin, 86
Daumier, Honoré, 6, 8
Gargantua, 7, 22
Davis, Angela, 89
Davis, Benjamin Oliver, Sr., 71, 74
Davis, Ben, Jr., 78
Davis, Miles, 150
Dee, Kool Moe, 140
DeFrantz, Thomas F., 151
De La Beckwith, Byron, 100
Delacroix, Eugene, Colescott’s parodies of, 171–172, 178, 180
De Palma, Brian, Hi, Mom, 128–130, 129, 132
Diawara, Manthia, 154
Dickinson, Emily, 174
Dickson-Carr, Darryl, 34, 158–159, 195
Dionysian satire, 22
Dodge, Mary Mapes, Hans Brinker, or the Silver Skates, 168
Dodson, Owen, 64, 66–67
Dolezal, Rachel, 137
Dolinar, Brian, 88
Donaldson, Jeff, 46, 47–48
Aunt Jemima and the Pillsbury Dough Boy, 120–121, 120
The Civil Rights Yearbook, 117, 118, 120
Douglas, Aaron, 60, 113
Downey, Robert, Sr., Putney Swope, 24, 25–26, 34, 41, 42
Drake, 132–133, 153
Duchamp, Marcel, 207n61
Dunbar, Paul Laurence, 113
Editorial cartoons, 8, 11–12, 13–15, 42, 55, 91
Egypt, ancient, satiric art of, 5, 6
English, Darby, 39
A Year in the Life of Color, 165
Entertainment, influence of minstrelsy, 116–117, 132–133
Eulenspiegel, Harrington’s cartoons for, 47, 86, 91–98, 94–97
Evans, Walter O., 97
Evers, Medgar, 100
Fairclough, Norman, 32
Fanon, Frantz, 147
Fax, Elton, 88
Film and video, 6
black vernacular context for, 26–29
fragmented world in, 34–35
genre anxiety, 132
influence of minstrelsy, 128–132, 133–135, 151–153
satirical frame of reference in, 8, 10
stereotype reversal in, 125
Finley, Jessyka, 40
Fish, Stanley, interpretive communities theory of, 44–46
Flanagan and Allen, 35
Fontaine, Jean de la, 182
Frankel, Gene, 42
Gambino, Childish (Donald Glover), 35, 105
This Is America, 151–152, 152
Garvey, Marcus, 193
Gates, Henry Louis, Jr., 26, 162, 193
Gates, Raquel, 131
Gay camp, 177
Genet, Jean, The Blacks, 41–42, 127
Genre anxiety, 132
Glover, Donald (Childish Gambino), 35, 105
This Is America, 151–152, 152
“Going there,” 49–50, 203, 208n78
Gombrich, Ernst, 10
Goncourt, Edmond and Jules de, 22
Gosden, Freeman, 138–139
Goya, Francisco, 6, 7, 20
Graphic art, satirical, 6–8
Greek satire, 22, 28, 206n39
Grosz, George, 6, 8, 11
Drinnen und Draussen, 9, 33
Grotesque, 89, 159
Hammons, David, 30, 187
How Ya Like Me Now? 48, 139–140, 139
Victory over Sin, 31
Harlem community, satirized in comic strips, 63–66, 70
Harlem Renaissance, 113
Harlequin, 107, 108
Harper, Phillip Brian, 40
Harrington, Oliver Wendell (Ollie), 40, 46, 47, 121
on abstract art, 84
American homecoming of, 99–101
Bootsie character of, 58, 66, 66, 75–76, 76, 79, 80, 81, 82–83
civil rights activism of, 76–78
civil rights themes in work of, 81–82, 86–87, 88, 93–96, 101
comic strips of, 61–69
Communist sympathies of, 78–79, 89, 91
drawing style of, 88, 89–90
early life in Bronx, 58–59
East Berlin residency of, 85–86, 88, 91, 98–99
editorial art of, 56
Eulenspiegel cartoons of, 47, 86, 91–98
on gay and lesbian oppression, 68
geopolitical themes of, 88–89, 96–97
mentored by Schuyler, 60–61
military themes in work of, 71–76
mixed-race ancestry of, 63, 187
multiple cartoon contracts of, 92–93
Paris residency of, 80–85
at People’s Voice, 70, 71, 73, 74
racism as subject for, 47, 84–85, 93–98, 100–101
syndication of, 209n22
topics covered by, 55
vocation as cartoonist, 59–60
as war correspondent, 74–75, 75
at Yale University School of Fine Art, 64–65, 67, 68, 88
Harrington, Oliver Wendell (Ollie), works: “Beauty and the Beast,” 89, 90
Blues in the News, 71, 72, 73, 73
Bomb Shelter, 70, 70
Bootsie, 82–85, 83, 85, 86, 87, 88–89, 90, 100, 101
Bootsie and Others: The Cartoons of Ollie Harrington, 83, 88
“Boston, Cradle of Liberty,” 211n60
Dark Laughter, 56, 63–66, 64, 65, 67, 69, 75–76, 76, 79, 80, 81, 82, 82, 83
Deep South, 67, 68
Jive Gray, 73–74, 93
Razzberry Salad, 61, 62
“Rhodesian Constitution Bell,” 90–91, 90
Scoop, 61, 63
Harris, Michael D., 121
Harris, Trudier, 26
Hayden, Palmer C., 113–114
10 the Cavalry Trooper, 115–116, 115
Henderson, Eric, 130
Hennessy Youngman character, 26, 28, 143–144
Himes, Chester, 80–81, 155, 180
Hip hop, 26, 27, 105, 151
Hirsch, E.D., 69
Hogarth, William, 6
Boys Peeping at Nature, 7, 20–21
Hokum, 30, 67, 116
Holiday, Billie, 150
Hood, Robert, 150
Horatian satire, 20–21
Howery, “Lil Rel,” 35
Hughes, Langston, 51, 83, 113–114, 116, 210n42
Humor: clown modes, 26, 143–144
in Colescott’s artworks, 159, 162–163
Hurston, Zora Neale, 40
Hutcheon, Linda, 44, 46
Image macro, signifying powers of, 32–33
Interpretive communities theory, 44–46
Interracial relationships: African American soldiers in, 75–76
in Colescott’s work, 124, 185, 187–188
fears of, 142
theme for visual satires, 48–49, 124, 185
Jackson, James and Esther Cooper, 94
Jackson, Michael, 150
Jafa, Arthur, Apex, 150–151, 150, 154
“Jim Crow” characters, 107, 151
Jive, meaning of, 58
Johns, Jasper, Map paintings of, 173
Johnson, E. Patrick, Strange Fruit, 176–177
Johnson, James Weldon, 26, 113
The Autobiography of an Ex-Colored Man, 186
Johnson, Sargent Claude, 113–114
Divine Love (Mother and Child), 114, 115
Joja, Athi Mongezeleli, 148
Jones, Dewey Roscoe, 52–53
Jones, LeRoi (Amiri Baraka), 40, 47–48, 118–119
J-E-L-L-O, 126
Joseph, Seymour, 98
Judovitz, Dalia, 207n61
Juvenalian satire, 21, 29
Kahan, Mitchell D., 159
Kazan, Elia, A Face in the Crowd, 133
Kennedy, Adrienne, 40
Kennedy, John F., 166
Kennedy, Robert, 166
Kienholz, Ed, 6
Kimmelman, Michael, 2, 3
King, Martin Luther, Jr., 87
Colescott’s depiction of, 165–167, 166
de Kooning, Willem, Woman series, 140, 172, 173, 178
Kubrick, Stanley, 8
Landauer, Susan, 175
Lawrence, Jacob, Vaudeville, 116
Lee, Nikki, Hip Hop Project, 137
Lee, Spike, 22, 46
Bamboozled, 8, 10, 105, 133–135, 152, 153–154
Chi-Raq, 28–29, 29
on satire, 217n79
LeFalle-Collins, Lizzetta, 115
Leutze, Emanuel, 15, 18, 168, 178
Levinthal, David, 134, 135, 135, 154, 217n80
Lévi-Strauss, Claude, 108–109
Life magazine, 67, 68
Lincoln, Abraham, 193
Linzy, Kalup, 26–28, 34
Ozara and Katessa, 27, 27
Lippard, Lucy, 124
Lipsitz, George, 132
Literacy: cultural, 69
summoned, 56–58
Literary satire, 34
Lorde, Audre, 135, 179
Lott, Eric, 109, 129
Louis Philippe, King of France, 22
Lynching, 47, 84–85, 85, 90, 194
Mabley, Jackie “Moms,” 40
McGee, David, Portrait of Picasso/Side A, 37–38, 37
McGruder, Aaron, 166–167
McIver, Beverly, 184
Invisible Me, 48–49
self-portraits of, 141–142
Silence, 142, 154
McLean, Don, 164
Major, Clarence, Juba to Jive, 32
Mammy figure, 115, 125, 141
Manet, Édouard, 177, 178
Olympia, 128
Marshall, Kerry James, Frankenstein, 144, 145
Masks: black skin/white mask concept, 127, 128–132
in Muholi’s Somnyama Ngonyama series, 48, 149–150
rhetorical power of, 177
role of, 108–109
Masquerade, 42–43, 148
Matisse, Henri, The Dance, 182
Mencken, H. L., 55
Menippean satire, 19–20, 25, 29, 34
Micheaux, Oscar, Body and Soul, 24–25, 24
Military themes, in Harrington’s cartoons, 71–76
Miller, Wayne F., Parade Watchers, 44–46, 45
Milton, John, Variorum Commentary, 46
Minstrelsy: blackface with black performers, 110–112
blackface with white performers, 106–110
burnt cork makeup, 105, 116, 133
Minstrelsy, influence of, 104–106
on art, 102–103, 105–106, 113–116, 127–128, 135–151, 154
on dance, 151–152
on entertainment, 116–117, 132–133
on film and video, 125, 128–132, 133–135, 151–154
on racial stereotypes, 103–104, 112–113, 152–154
on theater, 118–120, 125–127
whiteface, 48, 126, 127, 127, 129, 130, 139–140
Mitchell, Koritha, 85
Mitchell, W. J. T, 10
Mokoena, Hlonipha, 148
Mones, Arthur, 178, 179
Moreland, Mantan, 131
Motley, Archibald, Jr., 203
and blues songs, 10–11
“going there” satire of, 50
Lawd, Mah Man’s Leavin’, 2–3, 2, 10–11, 29–30, 34
and racial stereotypes, 2–4, 19, 25, 113–114
rural context of, 30, 36
Muholi, Zanele, Somnyama Ngonyama, 148–150, 149, 153
Murai, Hiro, This Is America, 151–152, 152
Murray, Albert, 209n21
Murray, Derek Conrad, 28, 48, 214n33
Musson, Jayson, 27
Hennessy Youngman character of, 26, 28, 143–144
Nast, Thomas, 8, 89, 93
Colored Rule in a Reconstructed (?) State, 14–15, 16, 18
National Association for the Advancement of Colored People (NAACP), 77, 78, 79, 81
National News, 60, 61
Negro Digest, 52, 55
Nelkin, Peter, 92
New Museum of Contemporary Art, 161, 175
New York Amsterdam News, 60, 61, 63, 64, 69, 78
New Yorker, 13, 14, 31
New York Times, 160, 165
Nyong’o, Tavia, 134, 168–169
Obama, Barack, 13, 14
Obama, Michelle, 1, 13, 14, 31
O’Grady, Lorraine, 187
Outsider-ness, of Colescott’s subjects, 162
Overstreet, Joe, The New Jemima, 121, 122, 124, 168
Parker, Trey, 8
Parodies of artworks, Colescott’s, 155–156, 161, 162, 167–180
Paulson, Ronald, 10
Peele, Jordan, 187
Get Out, 34, 35
People’s Voice, 70, 71, 73, 74, 92
Performance art, 26–28, 177
Perry, Tyler, 27
Pícaro, 159, 199
Picasso, Pablo, 38, 178
Les Demoiselles d’Avignon, 179
Pierrot, 107
Pillsbury Company, 120–121, 214n31
Pindell, Howardena, 40, 46
Free, White and 21, 48, 138, 139, 140, 153
Pinder, Jefferson, Juke, 142–143, 143, 144
Piper, Adrian, 38–39, 40, 187
Self-Portrait Exaggerating My Negroid Features, 137–138
Pittsburgh Courier, 54, 73, 74, 75, 81, 84, 88, 92, 98, 101
Powell, Adam Clayton, Jr., 70
Pryor, Richard, 200–201
Bicentennial Nigger, 201–202, 201
Punning, visual, 36, 207n61
Queer subject, 177
Rabelais, François, 21–22
Race riots, 76–78
Racial hybridity, in Colescott’s work, 184–185, 187–191
Racial passing, 185–187
Racial stereotypes: Aunt Jemima images, 120–121, 122, 123–125, 123, 124, 140–142, 172
of Black Arts movement, 47–48, 117, 118–120, 126–127
influence of minstrelsy, 103–104, 112–113
reversals and transpositions, 124–128
satirical reformulation of, 2–4, 13–19, 102–104, 113–114
wounds from, 152–153
Racism: as target of black visual satire, 23–24, 41–42, 44
as theme of Harrington’s cartoons, 47, 84–85, 93–98, 100–101
Ramos, Mel, 140, 172
Raphael, Colescott’s parody of, 183–184
Reading: secularization of, 6, 8
summoned literacy, 56–58
Reed, Ishmael, 40
Relihan, Joel C., 19–20
Renner, Bernd, 21
Rice, Thomas Dartmouth, 106–107
Riggs, Marlon, Ethnic Notions, 152–153
Rimell, Victoria, 21
Rivers, Larry: I Like Olympia in Black Face, 127–128, 128, 214–215n38
parody of, 169–170
Roberts, Miriam, 192
Robeson, Paul, 24, 58, 78
Rolle, Esther, 152–153
Roman satire, 19–20
Rosenblum, Robert, 167
Royce, Rose, 175–176
Saar, Betye, 40, 46, 140
The Liberation of Aunt Jemima, 121, 123, 124, 214n33
St. Félix, Doreen, 152
Sanders, Harland, 124
Satiracy, 69, 104
Satire: Dionysian, 22
Horatian, 20–21
Juvenalian, 21, 29
Menippean, 19–20, 25, 29, 34
and the one-two punch, 22, 200, 203, 227n9, 228n24
Rabelaisian, 21–22
Satirical visual art: audience for, 41–42, 44–46, 69
and black community-directed criticism, 24–26, 54–55, 63–66
black material culture in, 30–32
in black vernacular context, 12–15, 26–30
of civil rights movement, 117, 118
critical reaction to, 11–12
degenerative approach to, 33–35
film, 8, 10
“going there,” 49–50, 203
graphic art, 6–8
historical background, 5–6
image and text in, 10–11
instability of meaning in, 39–40
pictorial devices and narrative structure in, 35–39
racism as target of, 23–24, 41–42, 44
search for, 49–51
signifying powers of image macro, 32–33
stereotypic imagery in, 2–4, 13–19, 47–48, 102–104
School desegregation, 81–82, 93–96
Schuyler, George S., 40
Black No More, 54–55, 60–61, 126
“The Negro-Art Hokum,” 60
Scott, Joyce J., 40
Man Eating Watermelon, 35–36, 36
Sell, Mike, 119, 147
Shaw, George Bernard, 12, 195
Shelley, Mary, 144
Shengold, Ann, 167
Sherman, Cindy, Bus Rider series, 136–137
Shonkwiler, Curt, 159
Signifying powers of image macro, 32–33
Simmons, Bobby, 127
Simone, Nina, 197
Simonsen, Mikkel, 11–12
Sims, Lowery Stokes, 158, 163
Sitka, Emil, 131
Smith, David, 6
Smith, Ian, 90
Smith, Jessie Wilcox, 168
Smith, William Gardner, 80
Sotiropoulos, Karen, 111
Stafford, Barbara Maria, 20
Stella, Frank, 177
Stephenson, James, 77
Stereotype: defined, 18–19. See also Racial stereotypes
Summoned literacy, 56–58
Talmadge, Eugene, 70
Tanner, Henry Ossawa, 50, 60
Tarry, Ellen, 93
Tate, Greg, 187
Theater, influence of minstrelsy, 118–120, 125–127
Till, Emmett, 194
Toles, Tom, 13–14, 15
Toomer, Jean, “Face,” 151
Trickster, black, 178
Truman, Harry S., 78
Tucker, Marsha, 175
Turner, Morrie, cartoons of, 53–54, 54
Tuskegee Airmen, 74
Van Peebles, Melvin, 46, 180, 203, 215n48
Sweet Sweetback’s Baadasssss Song, 132
Watermelon Man, 130–131, 131, 132
Vernacular truth (“troof”), 28
Villalongo, William, 55
da Vinci, Leonardo, The Last Supper, 169
Virginia Museum of Fine Arts, 219n30
Walker, Kara, 40, 46, 114, 203
critics of work of, 147
Do You Like Creme in Your Coffee and Chocolate in Your Milk?, 105–106, 106
A Subtlety . . . , 144–147, 146
unstable meaning in works of, 39–40
Wallace, Jennifer, 29
Ward, Douglas Turner, Day of Absence, 48, 126–127, 129
Watkins, Mel, On the Real Side, 116–117
Weems, Carrie Mae, 40, 187
Missing Link: Despair, 42, 43
Weisenburger, Steven, 33–34, 173
Welles, Orson, 78
Welsh, William, 109–110
West Coast ‘74: The Black Image, 161
Westergaard, Kurt, 11
White, Walter, 77, 78
White entertainers in blackface, 106–110, 138
Whiteface, contemporary, 48, 126, 127, 127, 129, 130, 139–140
Whitney Museum of American Art, 161
Williams, Bert, 150
Wilson, John, Deliver Us from Evil, 33, 33
Wolfe, George C., 40
Women, black: Aunt Jemima images of, 120–121, 122, 123–124, 123, 124, 140–142
devaluation of, 50
maternal images of, 114, 115
negative stereotypes of Motley, 3
as satirists, 39–40
self-portraits, 141, 148
subject of satire, 23–24, 26–27, 87, 88, 89, 163
Woodard, Isaac, 77–78, 79
Woodson, Carter G., 170
Word pictures, 53
World War II themes, in Harrington’s cartoons, 71–76
Worth, Thomas, 205n25
“Tu Quoque,” 14–15, 17, 18
Wright, Richard, 80, 85
Native Son, 74, 93
Wyeth, Andrew, 178
Yale University School of Fine Art, 64–65, 67, 68, 88
Young, Kevin, 28
Zanni characters, 107
Zapiro (Jonathan Shapiro), 11